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The fimple dignity of Milton * was either entirely neglected, or mistaken for bombast and infipidity, by the refined readers of a diffolute age, whofe tafte and morals were equally vitiated.

From this detail it will appear, that allegorical poetry, through many gradations, at last received its ultimate confummation in the Fairy Queen. Under this confideration therefore, I hope what I have here collected on this fubject, will not seem too great a deviation from the main fubject of the prefent fection; which I conclude with the just and pertinent sentiments of the Abbè du Bos, on allegorical action. The paffage though properly respecting dramatic poets,

* Even Dryden, blinded by the beauties of verfification only, seems not to have had a juft idea of Milton's greatness. It is odd, that in praifing Milton, he should infift on these circumstances. "No man "has fo copiously translated Homer's Grecisms, and the latin elegancies "of Virgil." By what follows it appears, that he had no notion of Milton's fimplicity. "He runs into a FLAT THOUGHT sometimes "for a hundred lines together, but 'tis when he is got into a TRACK 66 OF SCRIPTURE." He afterwards ftrangely misrepresents Milton's reafon for writing in blank-verse. "Neither will I juftifie Milton "for his writing in blank verse; for whatever caufes he alleges for "the abolishing of rhime (which I have not now the leisure to examine) "his own particular reason is plainly this, that RHIME WAS NOT HIS "TALENT." Whether rhime was Milton's talent or not, I shall not enquire, but shall infer from this reason affigned by Dryden, that had Dryden compofed the PARADISE LOST he would have written it in rhyme, and that consequently, with BURNET, he judged the want of it an imperfection in Milton's poem, See dedication to Dryden's Juvenal,

equally

is equally applicable to the action of the Fairy QUEENE. "It is impoffible for a piece, whofe sub

66

ject is an allegorical action, to interest us very "much. Those which writers of approved wit and "talents have hazarded in this kind, have not fuc"ceeded fo well as others, where they have been dis"posed to be less ingenious, and to treat historically "their fubject. Our heart requires truth even in "fiction itself; and when is is prefented with an 66 allegorical fiction, it cannot determine itself, if I

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may be allowed the expreffion, to enter into the Sentiments of those chimerical perfonages.......A "theatrical piece, were it to speak only to the mind, "would never be capable of engaging our attention through the whole performance. We may there"fore apply the words of Lactantius upon this occa"fion." Poetic licence has its bounds, beyond "which you are not permitted to carry your fiction. "A poet's art confifts in making a good reprefen"tation of things that might have really happened, " and embellishing them with elegant images. "TOTUM AUTEM, QUOD REFERAS, FINGERE, "ID EST INEPTUM ESSE ET MENDACEM, PO"TIUS QUAM POETAM *."

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* Reflexions, tom, I, c, 25.

2

VOL. II.

SECT,

S E C T. XI

Containing Mifcellaneous Remarks.

N reading the FAIRY QUEENE, fome obferva

IN

tions occurred which could not be conveniently referred to the general heads of the foregoing fections; but which, in this, are thrown together without connection, as they occafionally and fucceffively offered themselves.

B. i. Introduct. f. i.

Fierce warres, and faithfull loves fhall MORALIZE MY fong.

By the word moralize, Spenfer declares his defign of writing an allegorical poem; "though my subject, fays he, confifts of fierce wars and faithful loves, yet under these shall be couched moral doctrine, and the precepts of virtue." Our author, in another place, ftyles his FAERIE QUEENE, A MORALL LAY, where the fhepherd addreffes Colin Clout, who represents Spenfer.

Whether it were fome Hymne, or MORALL LAY,
Or caroll made to please thy loved laffe.

And

And bishop Hall, in the prologue to his fatires, alluding to this poem, hints at the preceptive nature of it in these words; speaking of the swords of Elfish Knights,

Or fheath them new

In mifty MORAL types.

And Drayton calls our author, with reference to the morality contained in the FAERIE QUEENE,

Grave MORALL Spenfer*.

Spenfer's poetry is,

Truth fevere, by fairy fiction drest +.

As a real poet expreffes it; one who has fhewn us that all true genius did not expire with Spenfer. Let me add Milton's opinion, who calls our author, "Our "fage ferious Spenfer, whom I dare be known to "think, A BETTER TEACHER THAN SCOTUS OR " AQUINAS ‡.”

B. i. c. i. f. 2.

But of his cheare did feeme too folemne fad.

To my moft dearely loved friend, Henry Reinolds, of poets and poefie. + Gray's Odes.

A Speech against Unlicensed Printing. Birch's edit, vol. 1. p. 147.

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Sad did not always imply forrow, but gravity of countenance and deportment. "Certaine gentlemen "of the privie chamber [of Henry VIII.] were re"moved for their lewdnesse, and then foure fad and "antient knights put into their places *."

B. i. c. i. f. 4.

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Under a veile that wimpled was full low.

A veil plaited. But the veil and the wimple were two different articles in the drefs of a nun. Thus Lydgate, in defcribing the Abbeffe, in the Daunce of Macchabre.

And ye my ladie, gentle dame abbeffe,
With your mantles furred large and wide,
Your veile, your wimple paffing great riches.

One Machabree, a french poet, wrote a description, in verfe, of a proceffion painted on the walls of St. Innocent's cloifter, at Paris, called the DANCE OF DEATH. This piece was tranflated by Lydgate, who tells us in the Prologue, ft. 5.

The which Daunce at St. Innocent's
Portraied is.

Stow mentions this DANCE OF DEATH, in his Sur

*Stowe's Annals, by Howes, pag. 508.

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